R. Blomfield: Ancient Greek Architecture

Page 7

How this order was arrived at we do not really know. Ingenious conjectures have been made as to its origin in wooden construction, and though some of these conjectures are more probable than others they leave us pretty well where we were in regard to the stages by which it reached its final form. It has been suggested that the Doric column originated in the wooden post of the earliest temples, such as are supposed to have existed in the Heraion at Olympia. The square post would have its angles taken off, and become an octagon, and the further elimination of the angles would gradually produce a form nearly circular in plan, in which the arrises of the chamfered angles would remain, and this might easily suggest to artists so sensitive as the Greeks, their further refinement and definition by a slight hollow between the arrises which would constitute the flutings of the Doric column. Its derivations from the Minoan and Mycenaean columns seems most improbable. There are two essential parts in the Doric column, the shaft and the capital (the Greeks did not use any base for this order). The Minoan columns taper downwards instead of upwards, an utterly unconstructional form, and though in the palace of Knossos and at Tiryns columns of this shape appear to have been used to carry lintels, the stone columns on either side of the entrance to the Treasury of Atreus at Mycenae were used for decorative and not for structural purposes. On the other hand columns of great massiveness tapering upwards had been used long before in Egypt; and though there is evidence against it, it still seems probable that the suggestion of the shaft of the Doric column may have come from Egypt. We first find it in Greece in the seventh century B. C. at the period when Psammetichus I (671-617 B. C.) opened Egypt to Greek trade and settlement. The Greek colony of Naukratis on the west side of the Nile delta was founded by Milesians about 650 B. C. and by the middle of the sixth century B. C. definite trade relations were established between Naukratis and the mainland of Greece. The Greek settlement at Daphnae on the eastern arm of the Nile appears to have been founded at about the same time as Naukratis, in both cases with the sanction and encouragement of the Egyptian king. The earliest Doric temples in Greece, Sicily, and Magna Graecia date from the end of the seventh century and early part of the sixth century. The nearness of date makes it probable that the shaft of the Doric order had its origin in the Egyptian column seen by some quick-witted Greek when trading in Egypt. When we come to the capital of the column, the rôles seem to be reversed, for we find nothing in Egyptian architecture to suggest the echinus moulding under the square abacus of the Doric column; whereas the Mycenaean column had a rudimentary capital which may have suggested the idea of the Doric capital. But the notable thing about it is that when we first come across the Doric capital in Sicily and Greece, it is already far in advance of anything that had gone before it in Greece, and it is quite different from the columns of Egypt. In the Doric temple of Corinth (650-600 B. C.) the columns have already reached the type form, the tapered shaft with its entasis or slight convex curvature in outline, its massive solidity (the ratio is one of diameter to four and a quarter of height), and the bold parabolic curve of the echinus moulding under the abacus of its cap. In this form, the Doric column was an absolutely fresh note in architecture. Archaic though they were, these columns at Corinth show that the Greeks were already on the track of those refinements of form, those optical corrections and compensations, which differentiate Greek architecture from that of any other race. The exaggeration in the entasis of the archaic column disappears, its tapering was diminished, its height increased, and the overhang of the capitals reduced, till in the Theseion (465 B. C.) and the Parthenon (450-438 B. C.) we reach the final inimitable type. The column, which at Paestum was not much over four times the height of its correct diameter, is now over five times, the great overhanging capitals are reduced to reasonable dimensions, the depth of the entablature is diminished, the axis of the column is slightly inclined inwards to give the impression of stability, the shafts have the slight curve or 'entasis' just sufficiently marked to prevent the outline of the column looking incurved; the lines of the stylobate, or continuous base, on which the columns stand, and the entablature which they carry, have a slight rise toward the centre in order to correct the impression of the lines sinking in the middle; the columns at the angles are thickened, because standing free with the light all round them they would otherwise appear smaller than the columns standing against the background of the building. Nothing was left to chance; every aspect of the building, the relation of every part to the whole, and of the whole to its part, was studied profoundly, so that there should be no failure in its perfect harmony. Except in Egyptian architecture, and there to a much smaller extent, nothing like this had been done before. What the Greeks did, was to formulate a rhythmical architecture, in which each part stood in a definite and considered relation to the whole, so that even in their ruined state these Doric temples give an irresistible impression of a great idea, a great architectural epic, in which each detail, however beautiful, was subordinated to the unity of the conception as a whole. It is this abstract quality which lifts Greek Doric so far above the ambitious art of later ages, and indeed above all but the very finest work of any period of architecture.

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R. Blomfield
Ancient Greek Architecture

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R. Blomfield Ancient Greek Architecture

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R. Blomfield
Ancient Greek Architecture